A wonderful, absorbing listen by a truly special group.

Though undoubtedly a beautiful set of tracks, Once Twice Melody suffers from its length – almost eighty-five minutes is hefty for a listen in one sitting – and the occasional clashes in instrumentation and vocals, with sequenced drums and synthesisers taking away from the warmth of Legrand’s voice.

A pleasing work of subtle evolution that taps into the group’s core values while teasing out fresh ideas.

'PREY//IV' is not simply music to listen to: it’s an attempt to communicate genuine pain in ways that simply aren’t possible through a written statement posted online. Little surprise, then, that the lyrics go for the jugular on occasion (“You taste like rotten meat”; “Are you picturing my insides outside of me?”). However, they’re at their most effective when their visceral imagery gives way to narratives of coercion and control, as it does on 'FAIR GAME'

With 'B FLAT A,' the group has taken another step towards solidifying their wholly distinctive sound. A tar-black marriage of poetry, politics, and powerful rhythm. With each release growing in confidence, we look forward to seeing what they give us next.

The album is bold, eccentric and proudly rooted in classical South Asian traditions, whilst sounding fresh and accessible at the same time.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

Refulgent in tone, gorgeous in execution, the new album lingers on matters of the heart – a full four different songs have ‘love’ in the title. Still, nobody does it better.

They’ve come out the other end with a truly talismanic record that will live long in the memory for any who experience it.

A work of assured yet subtle transition, it re-engages with some of alt-J’s core tenets, while not being afraid to engage emotionally.

Whilst there is a real danger to being overly nostalgic, this album hits a happy medium.

While a fun and energetic record, much of the songwriting falls into the somewhat forgettable. Everyone is bringing their A-game, and they're having a blast while doing so, but nothing entirely sticks to the ribs.

It’s best described as an album for escape- to leave the world behind, and encompass yourself completely in the emotive contemplation it offers.

Ideas are left unexplored, while 2Chainz innate abilities – on his day, one of the best MCs around – is clouded by a willingness to pack the tracklisting with guests. If this truly is his last trap project, then perhaps a change is overdue.

'Few Good Things' picks up steam with 'Still', a reflective collaboration with 6lack and Smino, climaxing four songs later on 'If I Had a Dollar', the most melodically ambitious and emotionally evocative song on the album.

The friction between these two worlds is rife throughout the album, creating moments of explosive hyper pop euphoria (Bites on My Neck) and complete emotional vulnerability and devastation (Friendly Machine).

‘Give Me The Future’ achieves everything a pop album should and stands out as Bastille’s best and most expansive work. The narrative is compelling and successfully paints the picture of a universally relatable topic.

‘Laurel Hell’ is a big album that demands to be known, full of indie-pop wonders and most of her most moving ballads yet.

Le Bon’s finest moments bypass rational analysis in favour of radiant gestures. We should welcome them during these colder days.

Overall, the ensemble sound incredibly close to the freewheeling jams fans are accustomed to; in short, they meet the sky-high potential teased on their first record.

‘Motordrome’ can be hit and miss. ... That being said, there’s a huge amount to recommend here. A clinical, finessed pop record, ‘Motordrome’ utilises its 10 track span to broach a number of fresh ideas.

There are moments where Dior shows his undoubted potential and those moments save this album from being completely mediocre, unfortunately, those moments don’t come anywhere near often enough.

'W' sees Boris fully exploring the lighter side of their sound. ... But the delicate beauty of these moments is magnified when Boris push themselves to the other extreme.

A work of impish maturity, ‘Extreme Witchcraft’ is Eels at their most playful, with the band’s carefree wizardry still delivering thrills, even after all these years. While not ranking with their absolute best work, in terms of breakneck guitar-led songwriting it more than delivers.

Undoubtedly their best record to date, it finds Palace asserting themselves in ways they’ve always suggested were possible.

A helter-skelter ride through extra-dimensional sonics, ‘Wilds’ is an exhilarating return, The Soundcarriers’ lengthy absence simply making their return all the more potent.

The product of producing something so relatable that people find solace where you once only saw pain. Sack off therapy, just stick this on.

It never quite transgresses those influences, yet in terms of sheer charm and bravura it places Olly right up there with his idols.